Holding onto a memory is much like listening to a piece of music. Even while it is still playing, it is already disappearing. What remains is rarely accurate, but a reconstruction assembled from fragments, emotion, and imagination. My practice begins in that gap between experience and recollection. Rather than reproducing objects faithfully, I remake them through memory, allowing inaccuracies, substitutions, and material translations to become part of the work.

In Please Stay, steel branches are fabricated freehand from remembered forms and allowed to rust, while polished stainless-steel trays catch the viewer’s reflection, folding them into the act of remembering. In Approximation I, driftwood is interrupted by fragments of engraved hardwood rulers. Instruments intended to measure with certainty become branches themselves, as though trying to calculate what was and what could have been. Together, the works explore memory as something continually remade rather than preserved, an encounter that cannot be held in its original form, only revisited through the materials, ideas, and imagination it leaves behind.